Furniture Craft Plans
The schedule, which is located adjacent to the furniture plan, may simply be in the form of a legend indicating codes and the generic types of furniture they refer to, such as C for chair or TA for table, and not specific product information. The codes must then be explained in more detail in the job or control book, as seen in the example in Figure 12-4. In the job or control book, trade names, product numbers, color names, and other specific details are given. A photograph or line drawing may be included as well as an actual piece of the finish or upholstery fabric. Figure 12-5 shows a page from a job book in which a chair is specified for a project. Furniture plans are also used to itemize the furnishings for pricing and ordering as well as to show the installers the exact location and orientation of each piece during move-in. The furniture plan is sometimes aligned with the electrical and power communication plans, because the exact location of many of these outlets is directly...
Since its first publication in 1970 The Technique of Furniture Making has established itself as the bible for all woodworkers. However, in nearly twenty years there have been considerable changes in the craft, and so this book has been revised thoroughly in order for it to continue to be as useful and relevant to today's furniture makers. The revision has been carried out by Alan Peters, one of Britain's leading furniture makers, whose own training has led him to have a ready sympathy and understanding for Ernest Joyce's approach. In addition to a great deal of new material, the whole book has been redesigned so that it is now much easier to work from. The biggest advances in the world of woodworking in recent years have been in the range and capabilities of power tools, and so this section of the book has been much expanded. Adhesives and abrasives have also developed considerably, and the large selection of products available, their applications and individual qualities are...
Increasingly, clothes storage is being catered for either by permanent built-in units installed by the builder, or by KD linking wall units that arrive in flat boxes ready for DIY assembly. These often replace not only the traditional wardrobe but also the chest of drawers and dressing table as well. For this reason, and because the general public is less willing to spend the equivalent amount of money on bedroom furniture as they do on their sitting room, dining or kitchen requirements, bedroom furniture is an area less frequently undertaken by the craftsman. The exception to this is the chest of drawers, which can have a more general application than strictly bedroom use. However, the following information may still be useful and relevant as small workshops do get involved from time to time in the construction of built-in units, and free-standing bedroom furniture is still a requirement in many older houses.
A heavy duty radial or swing saw mounted on a long wooden table is a regular item of equipment in most joinery workshops for the rapid crosscutting of squared up boards and timbers. It is less common in cabinet-making shops simply because waney edge boards are more commonly used. Many shops do have a lighter version, the radial arm saw, which has been particularly developed for the home craftsman and has a versatility that enables many processes from ripping to drilling to be accomplished on one machine. Its main use for the professional, though, with other machinery at his disposal, is for crosscutting and trenching dadoing (cutting long housings) for book-shelving and similar carcass work.
The following list gives descriptions of some of the more widely known woods suitable for furniture-making. In each case, colour, texture, figure, working properties and behaviour can only be an approximation or general average, for individual trees within each species may differ very considerably. There will be marked differences between trees of the same species and accorded the same commercial gradings grown some 2000 miles apart, but there can also be an appreciable difference between trees grown only a few hundred miles apart. Movement or dimensional change is arrived at by adding together the tangential and radial movement values occasioned by a change in environmental humidity of 90 per cent (equivalent to a moisture content in timber of
Vacuum forming is the most interesting technique for the furniture-maker as with this process relatively large recessed shapings can be effectively and economically produced with simple apparatus. Integral chair shell structures which are produced by the injection-moulding process require heavy and expensive equipment, but certain plastics which are not sufficiently free flowing for injection moulding lend themselves to vacuum forming. The principles involved are relatively straightforward. A presoftened sheet of suitable plastic is securely clamped round the perimeter of an open-top box containing the shaped mould or former a vacuum is then applied to the box to pull the flexible sheet down over the former mould and held until the sheet has chilled off and fixed the shape. Stiffer plastics may require plunger assistance, and in this system the moulding former is in the shape of a plunger which is forced down into the softened sheet, while for deep drawings a vacuum is employed to...
It is hardly necessary to have complete sets of mortise-, firmer- and bevelled edged chisels for furniture-making, as the bevelled-edged will do everything necessary. Nor are complete sets of any one type essential, for there will always be three or four favourites to which the hand automatically turns. A first selection could be 1 8 in (3 mm), 1 4 in (6 mm), 3 8 in (9 mm), 1 2 in (12.5 mm) and 4 in (19 mm) bevelled edge (61 lA) with the addition of a 1 16 in (1.5 mm) firmer type (61 lB) and perhaps a 1 2in (12.5 mm) mortise-chisel (61 lC), with the later addition of a long paring-chisel (61 4B), and a butt- or sash-pocket chisel (61 4c) for fitting work away from the workshop.
These two visually striking tables and matching benches in elm illustrate that preciousness and fine cabinetwork are not the only areas of interest for the furniture-maker. Designed and made to commission in both cases by Ashley Cartwright, 539 shows a 6 ft (1800 mm) square table for the English National Trust, and 540 a 9 ft (2750 mm) table and chairs for a private client.
Particle boards are heavier than most other wood materials (33 to 40 lb per cu. ft or 528.609 to 640.739kgpercu.m according to the density) as the glue content is relatively high moreover they have no long fibres and thus have little bending strength and tend to crumble at the edges if roughly treated. Always provided that these boards are not treated merely as substitutes for solid timber and forced to conform to long-established constructional methods, but regarded as valid materials in their own right, well worthy of new methods and applications, there is no doubt whatever that their use will continue to expand, and indeed they will become the standard material for furniture-making. With their obvious advantages this is almost inevitable, for not only do they make use of what is virtually waste material (forest thinnings, bough wood, etc.) but the very fact that they are man-made materials means that there is always scope for research and development in the production of lighter,...
25 Manufactured boards 1 3 ply construction 2 5 ply construction 3 Multi-ply construction 4 Blockboard 5 Laminboard 6 Battenboard (unsuitable for quality furniture-making) 7 Particle board (chipboard) 8 Grain direction when ordering furniture-makers do not require weather-resistant plywoods, but they must be confident that the plies are well bonded and will not laminate, and that they will withstand bacterial and fungoid attack therefore the type of bonding medium used is of importance. It is, for instance, hardly sufficient to describe a plywood as well-glued or resin-bonded, for the former term may include weak vegetable glues, while the latter may be so extended with fillers compounded of cereal flours, etc. that the implicit moisture-resistant properties are lost.
This traditional method is not now used to any great extent in production furniture-making, but it still has an important role in smaller workshops, as it is often a more economic method in one-off work than laminating. In practice a series of saw cuts are run down to within about 1 8 in (3 mm) of the outer face (319 1) according to the wood species, and the closer the cuts are the easier the wood will bend, with hard oak requiring a spacing of 1 4 in (6 mm) or less. There is a tendency for the bend to form a series of small flats at (A) not discernible in the white but magnified under a gloss polish, therefore highly finished surfaces should not be bent by this method. It is, however, useful for bending sheets of stiff plywood or laminboard and 319 2, 3 show its application to lengths of very hard English maple moulding (A) which warped badly after they had been worked. Saw cuts were run in 319 2 down to the dotted line (A), the moulding G-cramped C-clamped down to a level surface...
The basic tools of woodwork and the elementary processes of sawing, chiselling and smoothing wood are widely known, and detailed repetition is hardly necessary. What is of concern here is the specialized application of these basic techniques to the fabrication of project components, usually of small dimension, which will eventually become pieces of furniture. Therefore, although the tools employed and the methods of manipulating them are in principle the same as for any woodworking trade, the furniture-maker must always endeavour to work to precision limits. So although he may use the same kind of saw. chisel, plane, etc. as any other woodworker, the saw will tend to have finer teeth, the chisel will be of the lighter, bevelled edged variety, the smoothing-plane will be the standard tool but it will be keener and more finely set. In the main, therefore, his tools will be orthodox but more numerous they must be the very best of their respective kinds and he must be scrupulous in...
Most furniture-makers require turned components from time to time, from chair legs to turned drawer knobs, so it makes sense, if space permits, to undertake this within the workshop. The woodturning lathe can also be a useful source of income, and bowls and platters, often from the waste products of furniture-making, can keep apprentices and trainees gainfully employed between orders. It is preferable to purchase as heavy a machine as
Hitherto a separate craft, the lining-in of inset leather or baize surfaces to table- and desk-tops was usually passed over to small specialist firms who also gold blocked the borders. The actual laying of the leather, etc. is now often done by the furniture-maker, with any gold border blocked in by a specialist. It should be pointed out in this connection that most leathers are now heavily dressed with synthetic resin lacquers during finishing which may or may not take the leaf or foil, and this should be established before laying.
Fibre boards have been used extensively in the building industry for many years in various densities, but until recently the only application for furniture-making was the dense hardboard used for back panels and drawer bottoms. More recently, a medium density fibreboard (MDF) has been manufactured for the furniture industry, and it is available in thicknesses from 1 4 in (6 mm) up to 1 in (25 mm), which gives it a versatility in use that previously only plywood enjoyed.
Over the past few years a growing number of craftsmen in Britain and the USA have swung over to using inexpensive Japanese water stones. These are only available from specialist tool suppliers and, due to their extreme softness, are unsuitable for the novice or for school use. However, used with care, they cut fast, produce a near perfect edge, and avoid the use of messy oil. This latter is important as it is a basic necessity for the furniture-maker to keep his hands clean and free from grease, or he will spend half his time cleaning off dirty thumb prints.
The lightweight electric chainsaws which have recently been introduced are a great asset to the furniture-maker. They are invaluable for roughing out large, thick boards to arrive at the sizes that can be manhandled on the normal workshop machinery. They are much safer and more versatile in use than the portable circular saws, although a little more wasteful of wood. Also, for those involved in sculptural work, heavy bowl turning or carving, they are very manageable aids to roughing out and removing waste material.
These have only a limited use for the furniture-maker who, unlike the joiner and builder working out on site, has constant access to a floor-mounted machine. On occasion, however, the surface planer may not be wide enough, and then the portable is extremely useful for these extra wide boards or table tops, even though, for final accuracy, a hand plane will be needed.
A useful development of recent years has been the cordless drill which has simply to be charged up from time to time from an outlet of the mains supply. It has transformed the noisy, fast electric drill into a lightweight, quiet, refined cabinetmaker's tool. It runs at low speeds and can be used with absolute safety for many delicate drilling operations and even as a mechanical screwdriver.
This title of AD heralds a new era of exuberance in digital design. Having overcome the alienation and otherness of the cyber, having mastered the virtual qualities and protocols of the parametric, having achieved the intricacy and elegance of the digital, and having fully embraced the potential of 3-D computer software and CAD CAM manufacturing technologies, it is now time for architects to show off Conjure up the extravagance of furniture design, the abundance of CGI in Hollywood, the profuseness of bio-techno ornamentation or the lavishness of Middle-Eastern and Asian super-urbanism. Exuberance not only celebrates new Baroque theatricality, formal sophistication and digital virtuosity it also debates a plethora of joyful and intelligent ways in which experimental architecture manages to cope with the contemporary turmoil in global politics, economics and ecology.
Many manufacturers offer CAL-133 compliant products. All members of both the Business and Institutional Furniture Manufacturers (BIFMA) and the American Furniture Manufacturers Association (AFMA) are required to do so. Buildings with sprinklers are not always required to have CAL 133 tested furniture. If a fire occurs, the lack of tested furniture may, however, be a liability issue. Hence it may be appropriate to use a CAL 133 compliant product even when it is not required.
Van Asselt was among the first settlers to arrive in the Seattle area. A native of Holland, he moved to New York in 1877 and then traveled westward to Iowa and then Oregon. By 1850 he lived in Oregon City, and is rumored to have lost his home during an Indian conflict of the 1850s. He made several trips to the Puget Sound region, settling there in 1889. Van Asselt was a jack of all trades, and worked as a farmer, shingle maker, carpenter, and cabinetmaker at various times in his life. He was also an expert marksman, a valued skill during the settlement era.
Electrical, telephone and communication outlets can be shown on one of several plans. With residential construction, they can be drawn on the construction floor plan because installation is fairly simple. On commercial projects on the other hand, the floor plan may be crowded with other unrelated information, and so a separate power plan is usually needed. In addition to showing the outlets themselves, exact dimensions are given when their location is critical. Outlets can also be shown on furniture plans as the outlets most often directly relate to the placement of desks, seating groups, and other furniture.
The sequence begins with a soup plate with cold spatzle in it. The very hot, clear pheasant soup is poured over this. Only the liquid is drunk, the spatzle are not eaten. All they are supposed to do at first is absorb the pheasant flavour and warm up. So the two main themes of the menu, the pheasant and the wheat, are introduced right at the beginning the pheasant in liquid form, but still unmistakable as a flavour, the wheat in the form of solid spatzle, but only as a visual experience at first. This concept requires great self-control from hungry guests, an essential attitude of mind at special celebrations like first communion, expressing a culture motivated by religion. But the setting - the table - is presented alongside the principal themes, and so is the set. It is festively decorated, often in colours matching the particular event, definitely following liturgical models as well. The plate plays a crucial part in this sequence it is not changed after each course, as it would be...
There are a number of components, assemblies, and other specialized items in buildings and interiors that do not fall neatly into commonly recognized groupings such as floor plans, elevations, sections, and finish plans. These elements often require a more detailed drawing and even specialized graphic techniques to fully explain them. These pieces of construction and their details often require a series of views that may be done in plan, elevation, section, and even isometric drawings. In most cases, the designer draws the basic sizes, arrangements, materials, and overall details of these components. Then, many elements are redrawn in more detail and submitted back to the designer as shop drawings done by one of the subcontractors, such as the cabinetmaker or glazing subcontractor. These shop drawings are highly detailed with expanded views and descriptions of the designer's original design intent and construction drawings. An example is shown in Figure 9-1.
The basic document package includes all the construction drawings (layout plans, elevations, sections, reflected ceiling plan details, cabinet details, finish and hardware schedules, construction details, furniture plans, and other miscellaneous drawings). As part of the design team, the planner's drawings must also be coordinated with those of other consultants including mechanical, electrical telephone, plumbing, and fire protection, as well as the architect and interior designer (if applicable). The number of drawings that make up the contract document package depends largely on the size and complexity of the project (Figures 2.15a, b, c).
It was out of this situation and work that, in 1888, Ashbee established the Guild and School of Handicraft, in accord with Ruskinian values and making furniture, metalwork, and painted decorations on a similar basis to Morris. By 1900, forty men were working there. As his biographer notes (Crawford), the Guild was an attempt to serve the men who worked there Itwas a co-operative workshop, with important decisions made by the guild in committee and profits (when there were any) shared among the members. Although Ashbee designed most of the guild products, he worked hard to nurture the craftsmen's own creativity. In a sense it was not this table or that decanter that was the object of his creativity, but the human story of the guild. Andjust as his workshops stood far to the east of other arts and crafts workshops in London, so Ashbee stood apart in the arts and crafts movement because he was mainly interested not in design or technique or the reform of public taste, but in the workshop...
This title of 2 heralds a new era of exuberance in digital design. Having overcome the alienation and otherness of the cyber, having mastered the virtual qualities and protocols of the parametric, having achieved the intricacy and elegance of the digital, and having fully embraced the potential of 3-D computer software and CAD CAM manufacturing technologies, it is now time for architects to show off Conjure up the extravagance of furniture design, the abundance of CGI in Hollywood, the profuseness of bio-techno ornamentation or the lavishness of Middle-Eastern and Asian super-urbanism. Exuberance not only celebrates new Baroque theatricality, formal sophistication and digital virtuosity it also debates a plethora of joyful and intelligent ways in which experimental architecture manages to cope with the contemporary turmoil in global politics, economics and ecology.
in Kollum, while painting a panel in oils Vredeman came across a joiner or cabinetmaker who owned the books of Sebastiano Serlio or Vitruvius published by Pieter Koeck. Vries assiduously copied these out (schreef nacht en dagh vlijtich uyt), the large one as well as the small one. From thereafter he returned again to Mechelen, to a painter . . . who had him make various works which incorporated architecture.56
The two primary pioneering industry leaders at the time that were renown for their innovative approach to furniture design and manufacture were Herman Miller (also from Michigan) and the Knoll company. FIGURE 1.50 Furniture designed by Eero Saarinen. Tulip tables, chairs, and stool. (Courtesy Knoll, Inc.) FIGURE 1.50 Furniture designed by Eero Saarinen. Tulip tables, chairs, and stool. (Courtesy Knoll, Inc.) Hans Knoll founded his H.G. Knoll Furniture Company in New York in 1938 at the tender age of 25, and only a year after immigrating from his native Germany. Hans's father was a pioneering German manufacturer of modern furniture. Knoll also built furniture designed by Bauhaus practitioners and other artists, and in 1947 Knoll produced Ludwig Mies van der Rohe's chrome and leather Barcelona Chair (Figure 1.51). Following their marriage, Florence and Hans also formalized their business partnership, and became known as Knoll Associates, Inc. Together, the Knolls championed the Bauhaus...
Putting a corner to practical use, this L-shaped modular si stem caters to every computer and office need. At center, opened drawer reveals a printer. Counter widens slightly to accommodate a desktop copying machine. Furniture design Eurodesign, Ltd. Like a child's construction toy, this amazing oak desk tilts, lifts, or lowers as you adjust its knob-and-pegboard frame. Furniture design Dean Santner Designs. Furniture design Bush Industries, Inc. An elegant, contemporary design, this desk employs a feature favored in the past pigeonholes. Collecting letters, business cards, and other small essentials, they clear the desk for the day's work. Furniture design Williams & Foltz. An elegant, contemporary design, this desk employs a feature favored in the past pigeonholes. Collecting letters, business cards, and other small essentials, they clear the desk for the day's work. Furniture design Williams & Foltz. The classic rolltop enters the computer age in this handsome oak version. Recessed...
Furniture that can be taken apart is a necessary requirement for some people. That need has led to the development of a whole range of joinery bolts that allow for quick disassembly without damage. Cabinet and furniture makers have developed many applications for this type of fastener. It's often seen on children's beds and storage shelving systems. The Europeans have expanded the use of these bolts and developed an extensive line of knockdown furniture.
Bond strength 1 the strength of the adhesive bond created by glue between two glued or bonded elements, or between a coating and its substrate. 2 in reinforced concrete, the strength of the bond between reinforcing bars and the surrounding concrete, measured at the point of failure of the bond. bond stress in reinforced concrete, stress which occurs between the surface of reinforcement and the surrounding concrete in a member under load. bond timber, chain timber in traditional construction, a timber laid horizontally in a solid masonry wall to provide bracing and reinforcement. bone black a strong black pigment consisting of impure carbon obtained from burnt and ground bones see also ivory black. bone china white porcelain fired with bone ash to a translucent state before a glaze is applied, when it is fired at a lower temperature developed in the late 1700s by Josiah Spode to provide a competitor for imported oriental porcelain. bone glue a form of animal glue, traditionally used...
This proliferation is reflected in books with titles like 1000 Chairs and 1000 Lights, but it provides much more than an overwhelming choice for the consumer.6 One of the ways that design progresses is through standards. Designers return to ubiquitous products like chairs and lights in much the same way that musicians revisit and reinterpret old tunes. And this is not restricted to furniture design and industrial design my interaction design students have recently used chairs as a medium to explore new interactive exhibits in a project called Forgotten Chairs.7 Outside a design culture, this obsession can be misinterpreted the familiar criticism, Does the world need another chair is a little like asking, Does the world need another version of 'A Night in Tunisia' As much as being a new product, each chair is a mechanism by which new approaches to design are explored and new design languages disseminated approaches and languages that can then be applied to other products as well as to...
Gothic art in all its forms was conventional and idealistic. Almost all the furniture and woodwork of this period was in natural-finished oak, although walnut was used on occasion. The designs were heavy in their proportions and rectangular in shape. The parts were assembled with wooden dowels, mortise-and-tenon joints and hand-cut dovetails. Furniture designs and ornamentation were borrowed from architectural forms and motifs (Figure 1.38).
At the University of California, Riverside, an older building was deconstructed and most of the materials salvaged by artist Jason Middlebrookfor making furniture and other useful products. At the University of California, Riverside, an older building was deconstructed and most of the materials salvaged by artist Jason Middlebrookfor making furniture and other useful products.
Now you see it, but sometimes you don't. Built into the wall system shown below are work surfaces that slide out like bread boards, as well as a desk that folds down to reveal a cozily closeted computer. Like the Murphy bed on the room's opposite wall, each device shuts away out of sight when not needed. Interior design Legallet-Trinkner Design Associates. Furniture design Eurodesign, Ltd. Since most of the furniture in this office rolls around on casters, it can be wheeled out of the ivay when the sofa bed is needed for overnight guests. Besides moving when you nudge it, the drafting table has an additional swing-up work surface it also stores supplies in its commodious base. Furniture design Barbara R. Wolfe and Osburn Design.
DJAGGAMS indicate minimum clearance) that should be provided for use of the bedroom furniture shown, dimensions for which are lisled below. Many types ond sizes of furniture are available but those listed ore most common and can serve s a basis for bedroom design. At leost 2 in should be allowed os clearance between walls and furniture 3 in between furniture units.
How To Sell Furniture
Types Of Furniture To Sell. There are many types of products you can sell. You just need to determine who your target market is and what specific item they want. Or you could sell a couple different ones in a package deal.